What does climate change mean to the generation it will impact most? Brad McCormick explains how primary schoolchildren have been working with climate scientists to develop their own play.
Support for new parents in the arts sector is often lacking. Rachel Harper explains how a new show has introduced a range of measures to create a less stressful, more inclusive working environment.
Very few theatres were built with today's sustainability standards in mind. The sector needs to face up to the financial and environmental costs of running old buildings, warns Tom Stickland.
When Ron Evans started thinking about how to make post-show talks more appealing and accessible, he found audiences hungry for new ways of engaging with the arts.
Theatrical productions typically give priority either to the playwright’s text or the director's interpretation. Eve Leigh challenges theatre to move on from these hierarchical models and open up new space for more trusting and collaborative work.
Who is Feargus Woods Dunlop's hostess with the mostest - and who does he think oozes theatricality? The writer and producer shares his five career gurus.
Settling scores, creating stories and taking risks - Gary Lagden saw many parallels between the worlds of theatre and rugby. But would these communities themselves agree?
Limited opportunities are preventing the authentic voices of disabled directors and writers from being heard. The sector needs to stop talking and take action, says Nicola Miles-Wildin.
At a time when the UK is looking to tighten its borders, Julia Grime looks at how German theatre has been welcoming the cultural initiatives and political messages of its growing refugee population.
Bristol Old Vic, England’s oldest theatre, is now also open as a visitor attraction and heritage destination. Emma Stenning explains why - and how - the venue embarked on this new venture.
Why do some in the sector feel that babies and toddlers have little to offer as audiences or participants? On the contrary, says Charlotte Arculus, working with this group is never boring.
While touring three productions around the UK, Unlimited Theatre developed a model for working with venues to engage local audiences. Tessa Gordziejko explains the role of the local engagement practitioner.
Pulling a community venue back from the brink needs vision, commitment and cost-effective solutions for tackling commercial challenges. The Royal Hippodrome Theatre has harnessed all three, writes Claire Boot.
Theatre and concert composer Adrian Sutton looks back on the trajectory of his career, from computer magazine reviews editor to becoming the musical brains behind the score for War Horse.
The news that Oldham Council has decided to drop its support for a new Oldham Coliseum Theatre comes as the theatre’s long-serving Artistic Director announces he is leaving this month to go freelance.
Lotte Wakeham has set out her vision for the theatre, which includes “tonnes of participatory work” as the venue undergoes a major capital redevelopment.
London Bubble’s Creative Elders programme has encouraged residents in sheltered housing units to socialise, be creative – and perform in public, says Helena Rice.
The city theatre in Ghent, Belgium has a new rulebook, aiming to open it up to the independent scene and international touring. Milo Rau introduces his 'Ghent Manifesto'.
